In Old Virginny 

Price, 25 Cents 



WALTER H. BAKER COMPANY 

BOSTON 












THE PLAYS OF HENRIK IBSEN 

A Doll's House* —Play in Three Acts. Translated by W. Archer. 

3 males, 4 females, and 3 children. Scene, an interior. Free for ama¬ 
teur performance. Plays a full evening. Price, 33 cents. 

An Enemy of Society* —Play in Five Acts. Translated by W. 
Archer. 9 males, 2 females. Scenes, all interiors. Free for amateur 
performance. Plays a full evening. Price, 33 cents. 

Ghosts* —Drama in Three Acts. Translated by W. Archer. 3 males, 
2 females. Scene, an interior. Free for amateur performance. Plays 
a full evening. Price, 33 cents. 

Hedda Gabler* —Drama in Four Acts. Translated by E. Gosse. 3 
males, 4 females. Scene, an interior. Free of royalty. Plays a full 
evening. Price,33 cents. 

The Lady from the Sea* —Drama in Five Acts. Translated by C. 
Bell. 5 males, 3 females. Scenery, varied. Free for amateur perform¬ 
ance. Plays a full evening. Price, 33 cents. 

The Master Builder* —Play in Three Acts. Translated by E. Gosse 
and W. Archer. 4 males, 3 “females. Scenery, varied. Plays a full 
evening. Free for performance. Price, 33 cents. 

Peer Gynt* —Play in Five Acts in Verse. 31 male, 15 female char¬ 
acters. Scenery, three interiors. Plays a full evening. Arranged for 
the stage by the late Richard Mansfield. Price, 33 cents. 

The Pillars of Society* —Play in Four Acts. Translated by W. 
Archer. 10 males, 9 females. Scene, an interior. Plays a full even¬ 
ing. Free for amateur performance. Price, 33 cents. 

Rosmersholm* —Drama in Four Acts. Translated by M. Carmichael. 

4 males, 2 females. Scenery, varied. Acts a full evening. Free for 
performance by amateurs. Price , 33 cents. 

The Wild Duck* —Drama in Five Acts. Translated by E. M. Avel- 
ing. 12 males, 3 females. Scenes, all interiors. Plays a full evening. 
Free for performance. Price, 33 cents. 

The Young Men's League* —Play in Five Acts. Translated by 
H. Carstarphen. 12 males, 6 females. Scenery, varied. Perform¬ 
ance free. Price, 33 cents. 

THE PLAYS OF OSCAR WILDE 

An Ideal Husband* —Comedy in Four Acts. 9 males, 6 females. 
Scenery, three interiors. Plays a full evening. The acting rights are 
claimed by Charles Frohman. Price , to cents. 

The Importance of Being Earnest* —Farce in Three Acts. 5 
males, 4 females. Scenes, two interiors and an exterior. Plays a full 
evening. Acting rights claimed by Charles Frohman. Price , to cents. 

Lady Windermere's Fan* —Comedy in Four Acts. 7 males, 9 fe¬ 
males. Scenery, three interiors. Plays a full evening. Acting rights 
claimed by Charles Frohman. Price, to cents. 

A Woman of No Importance* —Comedy in Four Acts. 8 males, 7 
females. Scenery, three interiors and an exterior. Plays a full even¬ 
ing. Charles Frohman controls the stage rights. Price, to cents. 

Costumes modern in all cases. 

BAKER, Hamilton Place, Boston, Mass. 







In Old Virginny 

An Old Plantation Novelty 


By 

ARTHUR LEROY KASER 

if 

Author of "Vaudeville Doubles “ Vaudeville Turns," 
“ Vod- Vil Monologues and Sketches ,” 

" What Streetetc. 


NOTE 

Amateurs may produce this entertainment without special 
permission or payment of royalty. For all other purposes, 
address Walter H. Baker Company, 9 Hamilton Place, 
Boston, Massachusetts. 



BOSTON 

WALTER H. BAKER COMPANY 

1923 


P rU\2-o' 

. Z^V\^35 


In Old Virginny 


CHARACTERS 

Mabel, an artist of modern times. 

Phil, an aviator of the same times. 

Uncle Ephrain, an old darkey of slavery times . 
Aunt Chloe, an elderly negress. 

John, their master. 

Honey Bunch ' 

Lilly 
Eliza 
Pansy 
Slivers 
Rags 
Raccoon 
Smoke 
Nicodemus 
Banjoists,/?/^, or more. 

As the cast of characters is elastic , as many more char¬ 
acters can be used as desired. 


youthful female slaves. 


youthful male slaves. 


Time.— The present, contrasting with the past. 
Time of Playing.— About thirty minutes. 



Copyright, 1923, by Arthur Leroy Kaser. 
All rights reserved. 

©CI.D 65338 

MIC 25 ’23 

: Aao | 




PROPERTIES 

Banjos for the banjoists. Artist’s easel with canvas on it 
artist’s brushes, pallet, etc. ; also stool for Mabel. Long wooden 
bench. 


COSTUMES, ETC. 

Mabel. Modern outdoor costume. Very neatly attired. 

Phil. Aviator’s togs. 

John. Light colored trousers ; long black coat ; large black 
felt hat. Costumes of the days just preceding the Civil War. 

The Slaves are dressed in almost anything from overalls to old 
gingham dresses. To give a more natural appearance, the legs 
should be bared from the knees down and blackened the same as 
the face and hands. If this is undesirable, stockings of many 
colors should be worn. 


THE CAST 

The cast is elastic ; that is, as many more characters can be 
added as desired. The character playing the part of Slivers 
should be a good clog dancer. Uncle Ephrain should possess a 
rich and rather low pitched voice. Phil should possess a good 
voice if it is desired that he sing, although his singing is 
optional. If he does not sing, the lines relative to his singing 
should be omitted. His part can be doubled with that of John. 


SONGS 

The following songs, which are called for in the following pages, 
“Old Black Joe,” “Listen to the Mocking Bird,” “ Rosa Lee,” 
“Nicodemus Johnson,” “ Swing Low, Sweet Chariot,” and “ De 
Boatman Dance,” are all old plantation songs and can be ob¬ 
tained at any music store or library. 


3 








In Old Virginny 


SCENE I 

SCENE. —Full stage. Curtain at rear bearing cotton- 
field scene, if available, although it is not necessary. In 
first scene the artist’s easel and stool are located down 
r. In second scene the easel and stool are removed 
and a long wooden bench is placed up l. The third 
scene is exactly like the first . 

{At rise of curtain Mabel is seated on stool before 
easel painting. Orchestra plays while curtain rises 
but stops as soon as curtain is up. Loud crash is 
heard off stage, l. Mabel registers fright. Phil 
tumbles on, head over heels from r. and rolls to 
Mabel's feet. Mabel jumps to feet giving a 
scream.) 

Mabel. A man! 

Phil (sits up and rubs head in dazed manner). 
Thanks for the compliment. 

Mabel. My, how you frightened me! 

Phil (looking upward). I was a little frightened my¬ 
self. 

Mabel. But —but where in the world did you come 
from? 

Phil. From up to down. Just kind of dropped in, 
you might say. 

Mabel. But where were you ? 

Phil. I was sailing around in my new aeroplane 
when it stopped sailing. 


5 



6 


IN OLD VIRGINNY 


Mabel. And you—you descended? 

Phil. I think that’s what you call it. Sort of due to 
gravity, you know. (Brushes sleeve .) My, but the roads 
are dusty up there. 

Mabel. Dusty ? 

Phil. Fact. That’s the reason we wear goggles. 

Mabel. How far were you up? 

Phil. About ’steen thousand miles. I was riding 
along Dairy Lane- 

Mabel. Dairy Lane ? 

Phil. Yeah, you know. Some people call it the 
Milky Way. 

Mabel. Tell me, is that very large? 

Phil. It used to be, but it’s condensed now. Any¬ 
way, my propeller got caught on a radio antenna some¬ 
where on Mars and upset the whole works. 

Mabel {sitting). And you came down? 

Phil. Yeah, I came down all right. That’s a proven 
fact. I’m the evidence. 

Mabel. I can hardly believe it. How far did you 
fall? 

Phil. Let me see; I left Mars a week ago last Tues¬ 
day on my return trip. Gee, I’ve been making pretty fair 
time, haven’t I? 

Mabel. You’ve been going some. 

Phil. You mean, I’ve been coming some. 

Mabel. I’ll say you have. 

Phil. But you know I had a flying start. That 
helped. 

Mabel. Poor man! 

Phil. I agree with you. I was going to stop off on 
my way back and call on Venus. She’s an old pal of 
mine. But the roads were bad and I had to detour. 
Everywhere you go there are signs up: “ Detour. Skies 
being repaired.” But what are you doing ? 

Mabel. Oh, I’m an artist. 

Phil. A what ? 

Mabel. An artist. I paint. 

Phil (referring to her face). So I see. You picked 
out a nice subject. 



IN OLD VIRGINNY 7 

Mabel ( referring to landscape). Yes, it is beautiful. 
So nice and green. 

Phil ( looking her over). I hadn’t noticed that. 

Mabel. But later when the limbs are bare and cov¬ 
ered with snow- 

Phil. Woman, you’ll freeze to death! 

Mabel. What ? 

Phil ( confused by her look). Oh, yes, yes—you’re 
right; it is beautiful. 

Mabel. I just love Nature. It is so real. 

Phil ( nibbing himself, and rising with difficulty). 
Yes, real hard. Won’t you let me see your picture? 

Mabel. Why, certainly. 

Phil ( viewing picture). Wonderful, wonderful. 
That hump on that camel is perfect. 

Mabel. Why, that isn’t a camel. That’s that hill over 
there. (Pointing off stage.) And down here is a valley. 

Phil. Oh, yes, to be sure. The valley is lower than 
the hill, isn’t it? And that dog there looks so natural. 

Mabel. You mean that there. (Pointing to picture.) 
That isn’t a dog; that is a tree. 

Phil. I beg your pardon; my mistake. All I noticed 
was the bark. Isn’t it peculiar how easily one will con¬ 
fuse one bird with another ? Do you like to paint ? 

Mabel. Oh, I just love art! 

Phil. Well, if Art doesn’t love you, he’s crazy. 

Mabel. What ? 

Phil. What I meant to say was, have you been paint¬ 
ing very long? 

Mabel. All my life. 

Phil. And still you don’t get discouraged? 

Mabel. Discouraged ? 

Phil. No, not discouraged. Monotonous—that’s the 
word—monotonous. Don’t it ever get monotonous? 

Mabel. I should say not. You see, I studied abroad 
for awhile. 

Phil. I studied a broad once but I couldn’t learn any¬ 
thing about her. 

Mabel. I don’t understand. 

Phil. I know; they’re hard to understand. 



8 


IN OLD VIRGINNY 


Mabel. What are hard to understand ? 

Phil. Girls, women, females! 

Mabel. Oh! are they? 

Phil. Yes. 

Mabel. Are you married ? 

Phil. No, I look this way on account of the fall. 
Mabel. And weren’t you ever in love ? 

Phil. No, you are the only one I ever fell for. 

Mabel ( innocently ). You fell for me? 

Phil. Fell? I literally tumbled, as it were—dropped 
—came down—descended—flopped! 

Mabel. But where is your machine? 

Phil. Oh, we parted company right near the handle 
of the big dipper. The dipper turned upside down and I 
spilt. 

Mabel. And you fell all the rest of the way alone? 
Phil. Quite alone, I assure you. I had quite a come¬ 
down. 

Mabel. But—but didn’t you hurt yourself? 

Phil {dramatically) . Are we alone? 

Mabel {puzzled). Yes. 

Phil. Then I will tell you something confidentially. 
Mabel. Yes? 

Phil. I came down on my reputation. 

Mabel {covering her face with her hands). Oh! 

Phil {sadly). But I will never be able to fly again. 
Mabel. It has shattered your nerves so? 

Phil. No, but when I fell I broke my contract. 
Mabel. Oh, how terrible! They say that when one 
is falling one thinks of all the evils of one’s past. Tell 
me, what were your thoughts while you were falling? 

Phil. Please, lady, I want to keep you as a friend. 
Let bygones be gone by. 

Mabel. You say you came down on your reputation? 
Phil. Yes. 

Mabel. Is that the reason you lit so hard? 

Phil {business). Oh, boy! Let’s change the sub¬ 
ject. Do you paint portraits? 

Mabel. Occasionally. 

Phil. Will you paint mine? 


IN OLD VIRGINNY 9 

Mabel. Why the—the fact is, I’ve never tried my 
hand at cartooning. 

Phil {business). Zowie! Then you don’t love me? 

Mabel {surprised ). What are you saying? 

Phil. I asked you if you loved me? 

Mabel. Why, I’ve known you such a short time. 

Phil. That’s one thing in my favor. Perhaps you 
could learn to love me. 

Mabel. Learning depends a lot on the teacher one 
has. 

Phil. I’m a wonderful teacher. 

Mabel. Is that so? 

Phil. Oh, yes. I’ve taught lots of girls—er—er— 
no, I haven’t! That’s a lie! I never did! Honest I 
didn’t! Honest, cross my heart, hope to- 

Mabel. Why are you apologizing? 

Phil. I—er—ain’t apologizing. That’s just a little 
song I know. We were talking about love, weren’t we? 

Mabel. What is love? 

Phil. Don’t you know? 

Mabel. I don’t think I do. 

Phil. Why, love is—that is, love just is, that’s all. 

Mabel. That is very inexplicit, coming as it does 
from a teacher. 

Phil. Well, love is that something which is not— 
which is not—that is, until it is, and then—then because 
it is—why, it is, that’s all. 

Mabel. I never heard it explained in that way before. 

Phil. Neither did I. It’s a new way, you know. 
Yes, it is. But come, say you love me and we will fly 
away together. 

Mabel {laughing). How? You lost your machine. 

Phil. Dog-gone it! You’re right. But we will fly 
away on the wings of love, and live on the moonbeams 
and the light of the stars. 

Mabel {laughing). Doesn’t sound very practical. An 
apartment, some bread and potatoes would be more sub¬ 
stantial. 

Phil. Ah, then you won’t marry me? 

Mabel. Why should I ? 



10 


IN OLD VIRGINNY 


Phil. Because I love you. 

(Orchestra plays and Phil sings a modern love song 
to her. She sits on stool during song. At finish 
of song Phil rises to feet and takes her hands. 
She gently pushes him away and he sits at her feet.) 

Mabel. You sing well, but your singing reminds me 
of the coal fields up north. 

Phil. How so ? 

Mabel. There were so many minors struck. 

Phil ( laughs heartily). You win. Say, do you know 
that long fall down through the atmosphere has made me 
sleepy ? 

Mabel. You might say that you nearly fell asleep. 
Phil ( looking around). Say, where am I, anyway? 
Mabel. Virginia. 

Phil. What? 

Mabel. You’re in Virginia. Don’t you even know 
what state you are in? 

Phil. Well, I know a few minutes ago I was in a 
state of excitement. Gee, I’m getting sleepy. (Yawns.) 
So this is Virginia? 

(Head nods. Orchestra plays “Dixie” very softly 
while Mabel recites.) 

Mabel. 

Yes, my friend, you’re in ole Virginny; 

The state I’ll ne’er outgrow— 

The land of cotton, that will ne’er be forgotten— 
As the home of Old Black Joe. 

Where’er I go, where’er I roam, 

There is always that longing to come back home 
To the fields of summer snow. 

(Phil’s head nods sleepily.) 

Look away, (Points off.) look away 
To those fields of snowy white; 

Those wond’rous scenes that will e’er delight 


IN OLD VIRGINNY 


1 J 


The artist’s eye, my friend, 

Where snowy white just seems to blend 
With Nature’s hues; a scene no writer ever 
penned. 

This is my home, and oftentimes 
In the evenings, dear old dad 
Will tell me tales of this old plantation 
When he was just a lad. 

He brings up pictures of the past— 

Some pictures gay, some pictures gray, 

Where roses bloomed amidst the thorns— 

The thorn of toil, and the rose of play. 

He tells me of the evenings when 
The big round moon would cast its light. 

And the colored folks would gather 
By these fields of snowy white, 

And sing their songs and dance and play 
Their old banjos, and in their home-made jollities 
Would forget the cares that infest the day. 

He tells of good old Ephrain 

Who used to sit and croon 

While the young folks sang and capered 

’Neath the big round Southern moon. 

And from these tales that daddy tells 
I can see them dancing to and fro 
In the evening by the moonlight, 

Long, long ago. 

(Orchestra glides off into an appropriate song of the 
old South of which Mabel sings chorus only. Dur¬ 
ing the singing Phil falls fast asleep. At finish of 
song all lights go out leaguing stage in total darkness. 
Mabel and Phil quickly exeunt, taking easel, stool, 
etc., with them. The long bench is placed up l. 
and Ephrain lies on it asleep. Lights come on.) 


END OF SCENE I 


12 


IN OLD VIRGINNY 


SCENE II 

SCENE.— Moon effect if available. Many voices heard 
off stage, talking and laughing, and coming nearer. 
Honeybunch runs on laughing from r., chased by 
Slivers. Honeybunch sees Ephrain and stops, 
motions Slivers not to make any noise. Others off 
stage talking and laughing loudly. As they enter 
Honeybunch and Slivers motion them to be quiet 
and point to Ephrain. Those entering are: Rags, 
Raccoon, Smoke, Lilly, Eliza, Pansy, and any 
others that might be added to the cast. They all 
form in half circle about Ephrain, and give a yell. 
Ephrain quickly comes to sitting posture and rubs 
eyes. Sees them and laughs.) 

Ephrain. Mah, mah, chil’ren, yo’ done skeered dis 
po’ ole niggah ’most to death. What yo’uns all mean 
wakin’ ole Ephrain up dis time ob night? 

Honeybunch. Come now, Uncle Eph, yo’ is all too 
young to go asleep so airly in de ebenin’. 

Ephrain. Pse too young, chile ? Mah goodness, doan 
yo’ know Pse gwine on a hun’erd yeahs ole ? 

Slivers. Aw, Uncle Eph, yo’ ain’t gwine on a hun’erd 
yeahs ole, be yo’ ? 

Ephrain. Yaas, mah boy, I is. I’se gwine on a 
hun’erd yeahs ole, but Ah got quite a long ways to go 
yit. ( They all laugh.) What all yo’ folks doin’ ober 
heah dis ebenin’ ? 

Rags. We is gwine to hab a party. 

Ephrain. A party? Now ain’t dat fine? Yo’ young 
folks jes’ go right ahaid an’ hab yo’ jub’lees an’ all de 
fun yo’ kin, bekase some ob dese days yo’ is gwine to be 
ole like yo’ Uncle Ephrain an’ den ef yo’ ain’t got no 
rabbit foot yo’ is gwine to git all twisted up wid 
rheum’tics. 

Raccoon. Yo’ sho’ got to git dat rheum’tics outen yo' 
dis ebenin’, Uncle Eph, ’kase dis jub’lee is all fo’ yo*. 


IN OLD VIRGINNY 13 

Ephrain. What’s dat yo’ is tellin’ me? Dis jub’lee 
am fo’ me ? 

Raccoon. Dat am a fac’, Uncle Eph. We jes’ foun’ 
out from Aunty Chloe dat dis am yo’ birfday, an’ we’uns 
jes’ corned ober to help yo’ ’member it. 

Ephrain. Mah goodness, it sho’ do make dis ole 
niggah feel good to hab yo’ young folks ’member him. 
(Wipes eyes on sleeve.) Jes’ kinda makes de eyes a 
little wet. Is yo’ chil’ren gwine to sing somefing fo’ de 
ole man now sense yo’ is all heah? 

Smoke. Course we is, Uncle Eph. We is gwine to 
sing an’ we is gwine to dance an’ we is gwine to do 
anyfing yo’ all wants us’uns to do. (To others.) Ain’t 
we’uns ? 

All. We is. 

Ephrain. Ef yo’ is all gwine to do anyfing Ah wants 
yo’ to do, Ah’d like a pow’ful heap to heah yo’ boys 
pick some ob de dust oifen dose banjos a little. Mah 
hands am gittin’ too stiff fo’ to do it mahself. 

(The Banjoists arrange themselves near Ephrain 
and play some lively old plantation piece. Others 
clap hands and keep time with feet to music. Dance 
around and keep things alive in general. Ephrain 
enjoys the music very much and keeps time clumsily 
with feet and hands. At finish of piece one ban- 
joist steps down stage a ways and plays another air 
while Slivers takes front stage and dances in fast 
snappy steps, the other Banjoists joining in. At 
finish Slivers and Banjoists drop back while others 
applaud.) 

Slivers. How’s dat, Uncle Eph? 

Ephrain. Boy, yo’ sho’ did kick holes in de air. I’se 
beginnin’ to feel kinda young mahself. 

Lilly. We’d all like mighty much to heah yo’-all 
sing, Uncle Eph. 

Ephrain. Sho’ now, chile, dis ole niggah done got a 
voice like a cotton gin. 

Lilly. Yo’ kin sing good, Uncle Eph, ’kase Ah done 


H 


IN OLD VIRGINNY 


heered yo’ all singin’ t’day when yo’ was a-pickin’ cot¬ 
ton. 

Honeybunch. Dere ain’t no ways ob gittin’ outen it, 
Uncle Eph. Yo’ jes’ got to sing. 

Ephrain. Yo’ is all so good to de ole man dat Ah’s 
gwine to sing jes’ fo’ to please yo’. 

(Orchestra plays. Ephrain hobbles toward center 
a ways and sings “ Old Black Joe” Others divide 
evenly on either side of Ephrain and swing side- 
wise in time to music. If a quartette is in the com¬ 
pany they may join in on chorus. At finish they 
all drop back while Ephrain resumes bench.) 

Raccoon. Yo’ is a fibber, Uncle Eph, an’ yo’ is neber 
gwine to Heaben when yo’ dies. 

Ephrain. Ah ain’t gwine to Heaben when Ah dies? 
I’se tried pow’ful hard to be a good niggah, an’ Ah sho’ 
hopes Ah passes frow de Gol’en Gates. What fo’ yo’ 
finks Ah ain’t gwine to Heaben? 

Raccoon. ’Kase yo’ fibbed. Yo’ done said yo* 
couldn’t sing an’ yo’ kin. 

Ephrain. Kain’t sing like Ah use to could, chile. 
Froat feels kinda shaky an’ full ob cobwebs. Does 
Massa John all know dat yo’uns is down heah dis ebenin’ ? 

Eliza. He sho’ do, Uncle Eph. He done asked us’uns 
whar we’uns was all a-gwine an’ we’uns tol’ him dat dis 
am yo’ birfday. Den he done said, “ Am dat a fac’ ? ” 
An’ we’uns said, “ Dat am a fac’.” Den he jes’ laugh 
and say, “Yo’uns jes’ go an’ hab a good time.” An’ 
we’uns did. 

Ephrain. Massa John am a pow’ful good massa to 
us po’ niggahs. Yo’ all kain’t fin’ any gooder massa den 
Massa John. Yes, suh, he am mighty good. Ah would 
a heap like to heah yo’ sing, Pansy. 

Pansy. Yo’ would now, Uncle Eph? 

Ephrain. Ah sho’ would dat. Somefing sweet like 
de sugar cane an’ like de angels singin’. 

(Orchestra plays and Pansy goes center and sings 
“ Listen to the Mocking Bird.”) 


IN OLD VIRGINNY 


15 


(Solo by Pansy.) 

I’m dreaming now of Hallie, sweet Hallie, sweet 
Hallie, 

I’m dreaming now of Hallie, 

For the thought of her is one that never dies; 
She’s sleeping in the valley, the valley, the valley, 
She’s sleeping in the valley, 

And the mocking bird is singing where she lies. 

Chorus. Listen to the mocking bird, 

(Entire company.) 

Listen to the mocking bird, 

The mocking bird still singing o’er her grave, 

(Solo by Pansy.) 

Listen to the mocking bird, 

Listen to the mocking bird, 

(Entire company.) 

Still singing where the weeping willows wave. 

(They are still singing “ Where the Weeping Willows 
Wave” as she bows and steps back. Im¬ 
mediately the Banjoists start off on a lively 
“ peppy ” air that gets all the characters swinging or 
dancing in unison. Music ends with a slam-bang 
finish. All finish with lively yelling and laughter.) 

Smoke ( looking off r.). Heah comes Massa John an’ 
Aunty Chloe. 

{All look off. John and Chloe enter from r.) 

All. Good-ebenin’, Massa John. 

John. Good-evening, folks. It appeahs as if you all 
are having a good time. 

Honeybunch. We’uns is that. Yo’ ain’t gwine to tell 
us to stop, is yo’, Massa John? 

John. No, Honeybunch, Ah’m not going to interfere. 
Fact is, Ah invited mahself to the party. ( To Ephrain.) 
How are you, Ephrain? 

Ephrain. I’se a lot betta, Massa John, a pow’ful lot 


i6 


IN OLD VIRGINNV 


betta. Dese young folks done make me feel kind ob 
young again. 

John. Ah invited mahself to your party because Ah 
got something to say to you, Ephrain. 

Ephrain ( while all others listen intently ). Yo’ done 
got somefing to say to me, Massa John? 

John. Yes, Ephrain. You-all been mah slave for a 
long time, Ephrain, and Ah’m going to give you a birth¬ 
day present. 

Ephrain. Neber got a birfday present in all mah 
bo’n days afore, Massa John. What yo’ all gwine to gib 
me? 

John. Ah’m going to give you your freedom, 
Ephrain. 

Ephrain {surprised) . Yo’ is gwine to what? 

John. Ah am going to set you free. 

Ephrain {pleading). Please, Massa John, Ephrain 
doan want to be sot free. Yo’ is a pow’ful good massa 
to us po’ niggahs, Massa John, an’ Ah jes’ wants to be 
wid yo’. What dis ole niggah gwine to do ef he am sot 
free? He ain’t got no home to go to an’—please, Massa 
John, doan- 

John. You misunderstand me, Ephrain. This is what 
Ah mean. You have been with me a long time and 
you’ve always been a good niggah. You’re getting old 
now and you need some rest. When Ah say Ah’m going 
to set you free, Ah mean Ah’m going to set you free 
from work. This old plantation will be your home, 
Ephrain, as long as you want to stay, but from now on 
all you’ll have to do is eat and lay around in the shade 
and forget all about working. 

Ephrain {kneeling and taking John’s hand). Massa 
John, Massa John- 

John {laughing). That’s all right, Ephrain. Get up 
now and go on with the jubilee. {All give a wild happy 
“Whoopee! ”) Good-night, everybody. [Exits r. 

All {waving hands off r.). Good-night, Massa John. 

Ephrain {half to himself). Pow’ful good massa, yes, 
indeedie. Ain’t he, Aunty Chloe ? 

Chloe. He’s sweeter den de sugar cane. 




IN OLD VIRGINNY 


*7 

(Banjoists play “Rosa Lee.” All give a “whoop” 
and Chloe takes center and sings.) 

(Solo by Chloe.) 

When I lib’d in Tennessee, 

{Entire company.) 

Uliali ojae, 

{Solo by Chloe.) 

I went courtin’ Rosa Lee, 

{Entire company.) 

Uliali olae, 

{Solo by Chloe.) 

Eyes as dark as winter night, 

Lips as red as berries bright; 

When first I did her wooing go, 

She said, “ Now don’t be foolish, Joe,” 
{Entire company.) 

Uliali olae, 

Courtin’ down in Tennessee, 

Uliali olae, 

’Neath de wild banana tree. 

(Company sings second verse and chorus while Chloe 
dances back and forth down stage. At finish of 
song Chloe stops dancing, all out of breath, bows 
and sits on bench with Ephrain.) 

Chloe. Mah, mah; dat jumpin’ ’round done gib me 
de heaves like a mule. 

Ephrain. Yo’ feets am big as cotton baskets, Aunty 
Chloe, but yo’ kin sho’ push dem aroun’. 

Chloe {indignantly). Am dat a fac’? Mah feets am 
jes’ de right size fo’ me, so dey am! {To Nicodemus.) 
Look heah, Nicodemus, Ah done come cleah down heah 
to heah yo’ all sing dat song yo’ was a-singin’ down in 
de co’n field t’other day. 

Nicodemus. Kain’t do much singin’ dis ebenin’, Aunt 
Chloe. 

Chloe. What’s de matta, Nicodemus? 

Nicodemus. Done hab a arg’a’ment wid a bum’le bee. 


i8 


IN OLD VIRGINNY 


Chloe. Mah, mah, chile, did yo’ done git stung? 

Nicodemus. Wall, dat bum’le bee done sit down an* 
push pow’ful hard. 

Honeybunch. Whar dat bum’le bee stung yo’, Nico¬ 
demus ? 

Nicodemus. Right back ob de cotton gin. 

(Orchestra immediately starts playing “Nicodemus 
Johnson ” and Nicodemus takes center and sings.) 

(Solo by Nicodemus.) 

I’ve just arrived in town to-day, 

And here I is before you, 

To sing about mah name and occupation; 

I come from old Virginny state, 

De best in all de nation. 

(Entire company.) 

O-ho! O-ho! To Nicodemus Johnson. 

{At finish of song Nicodemus steps back and Ban- 
joists play a jig tune . Slivers takes center and 
dances. Uncle Ephrain hobbles to r. and dances 
clumsily while Aunt Chloe goes to l. and dances. 
They dance toward one another and then back while 
Slivers dances backward and forward between 
them. At finish Slivers drops back. Chloe, all 
out of breath , sits on bench. Ephrain rubs knees.) 

Ephrain. Mah goodness, dat rheum’tics am always 
pokin’ its nose ’round whar it ain’t got no business. 

(Orchestra plays “Swing Low, Sweet Chariot,” and 
Ephrain takes center and sings.) 

(Solo by Ephrain.) 

Swing low, sweet chariot, 

(Entire company.) 

Coming for to carry me home, 

(Solo by Ephrain.) 

Swing low, sweet chariot, 


IN OLD VIRGINNY 


*9 


(Entire company.) 

Coming for to carry me home. 

{Solo by Ephrain.) 

I looked over Jordan, and what did I see, 
{Entire company.) 

Coming for to carry me home? 

{Solo by Ephrain.) 

A band of angels coming after me, 

{Entire company.) 

Coming for to carry me home. 

{Other verses should be sung in like manner , leaving 
last verse for encore. At finish Ephrain resumes 
bench.) 

Chloe. Reckon ef yo’ chil’ren am gwine to pick any 
cotton fo’ Massa John to-morrer yo’ all betta be giftin' 
to bed. 

Smoke. Massa John done said fo' we’uns to hab all 
de fun dat we wants. 

Chloe. Ob cou’se he did. Massa John’s a good 
massa. But how yo’ all ’spects him to feed dem big 
obergrown moufs ob yourn ef he doan git no cotton to 
sell, huh? 

Raccoon. We is gwine in a minute. {To Ban jo¬ 
ists.) Wiggle dem banjo strings, yo’ good-fo’-nothin’ 
cotton picks’s. 

(Banjoists go center and play “ De Boatman Dance.” 
One of the other members sings solo.) 

{Solo.) 

De boatman dance, de boatman sing, 

{Entire company.) 

De boatman up to eberyt’ing; 

{Solo.) 

And when de boatman get on de shore, 

He spend his cash and work for more. 

{Entire company.) 

Dance, de boatman dance, 

Oh, dance, de boatman dance; 


20 


IN OLD VIRGINNY 


(Solo.) 

Oh, dance all night till broad daylight 
And go home wid de gals in de morning. 

(Entire company.) 

Hi, ho, de boatman row, 

Floating down de ribber on de O-hi-o. 

(Soloist sings next verse in like manner while Slivers 
dances back and forth in front of them. The chorus 
is then repeated , the orchestra joining in with the 
Ban joists. Company drops back a little and 
dances very enthusiastically , giving an occasional 
u Whoopee!” On the last notes of the song the 
curtain drops very quickly.) 

CURTAIN 


SCENE III 

SCENE. —The stage has been quickly cleared. Bench 
has been removed. Phil and Mabel have taken up 
same positions with easel and stool as in first scene. 

(As the curtain rises Mabel looks at Phil who is 
still asleep. Loud peal of thunder and flash of 
lightning off stage. Mabel registers fright. Shakes 
Phil. He awakens and rubs eyes.) 

Mabel. Quick! there is a storm coming up. 

Phil (sleepily). Up where? 

Mabel. It’s going to rain! 

Phil (quickly rises to his feet , grabs up stool and 
easel). My gosh! and I left my bedroom window open. 

(They quickly exeunt L.) 

QUICK CURTAIN 


THE PLAYS OF A. W. PINERO 

Price, 00 cents each 

The Amazons* —Farce in Three Acts. 7 males, 5 females. Scenery, 
an exterior and an interior. Time, a full evening. Royalty, $10.00, 

The Cabinet Minister* —Farce in Four Acts. 10 males, 9 females. 
Scenery, three interiors. Plays two hours and a half. Royalty, $10.00. 

The Big Drum* —Comedy in Four Acts. 12 males, 5 females. Sce¬ 
nery, three interiors. Plays a full evening. Acting rights reserved. 

Dandy Dick* —Farce in Three Acts. 7 males, 4 females. Scenery, 
two interiors. Plays two hours and a half. Royalty, $10.00, 

The Gay Lord Quex*— Comedy in Four Acts. 4 males, 10 females. 
Scenery, two interiors and an exterior. Plays a full evening. 

His House in Order* —Comedy in Four Acts. 9 males, 4 females. 
Scenery, three interiors. Plays a full evening. Acting rights reserved. 

The Hobby Horse* —Comedy in Three Acts. 10 males, 5 females* 
Scenery, two interiors and an exterior. Royalty, $10.00. Plays 2^hrs* 

IriS* —Drama in Five Acts. 7 males, 7 females. Scenery, three inte¬ 
riors. Plays a full evening. 

Lady Bountiful* —Play in Four Acts. 8 males, 7 females. Scenery, 
four interiors. Plays a full evening. Royalty, $10.00 for each performance. 

Letty* —Drama in Four Acts and an Epilogue. 10 males, 5 females. 
Scenery, complicated. Plays a full evening. 

The Magistrate* —Farce in Three Acts. 1? males, 4 females. Scenery, 
all interiors. Plays two hours]and a half. Royalty, $10.00. 

Mid-Channel* —Play in Four Acts. 6 males, 5 females. Scenery, 
three interiors. Plays two and a half hours. Royalty, $10.00. 

The Notorious Mrs* Ebbsmith*— Drama in Four Acts. 8 males, 
5 females. Scenery, all interiors. Plays a full evening. 

The Profligate*— Play in Four Acts. 7 males, 5'females. Scenery, 
three interiors. Right of performance reserved. Plays a full evening. 

The Schoolmistress* —Farce in Three Acts. 9 males, 7 females. 
Scenery, three interiors. Royalty, $ 10.00 for each performance. 

The Second Mrs* Tanqueray*— Play in Four Acts. 8 males, 5 
females. Scenery, three interiors. Acts a full evening. 

Sweet Lavender* —Comedy in Three Acts. 7 males, 4 females. 
Scene, a single interior. Plays a full evening. Royalty, $10.00. 

The Thunderbolt*— Comedy in Four Acts. 10 males, 9 females. 
Scenery, three interiors. Plays a full evening. Acting rights reserved. 

The Times* —Comedy in Four Acts. 6 males, 7 females. Scene, a 
single interior. Plays a full evening. Royalty, $10.00. 

The Weaker Sex* —Comedy in Three Acts. 8 males, 8 females. 
Scenery, two interiors. Plays a full evening. Royalty, $10.00. 

A Wife Without a Smile* —Comedy in Three Acts. 5 males, 4 fe¬ 
males. Scene, a single interior. Royalty, $10.00, Plays a full evening. 

Costumes modem in all cases. 

BAKER, Hamilton Place, Boston, Mass- 





LIBRARY OF CONGRESS 



====== 0 029 037 940,4 

THE WILLIAM WARREN EDITION OF PLAYS 

Price, 25 cents each. 

As You Like It* —Comedy in Five Acts. By Wm. Shakespeare. 13 
males, 4 females. Based on the prompt-book of Miss Julia Marlowe. 

Camille* —Drama in Five Acts. From the French of A. Dumas, Fils, 
by M. Aldrich. 9 males, 5 females. A new acting version of this 
popular play. 

Caste*— An original Comedy in Three Acts. By T. W. Robertson. 4 
males, 3 females. The famous Boston Museum prompt-book. 

Ingpmar* —Play in Five Acts. By M. Lovell. 13 males, 3 females. 
Printed from the prompt-book of Julia Marlowe, giving all her stage- 
business. 

London Assurance* —Comedy in Five Acts. By Dion L. Boucicault 
10 males, 3 females. The Boston Museum version of this famous 
comedy. 

Macbeth* —Tragedy in Five Acts. By W. Shakespeare. 23 males, 4 
females. The version formerly used at the old Boston Museum. 

Mary Stuart* —Tragedy in Five Acts. From the German of Schiller. 

13 males, 4 females. Printed from the prompt-book of Mme. Modjeska. 

The Merchant of Venice*—Comedy in Five Acts. By Wm. Shake¬ 
speare. 17 males, 3 females. A new acting version based on the 
prompt-book of the late Henry Irving. 

A Midsummer Night's Dream.— Comedy in Three Acts. By 
W. Shakespeare. 13 males, 10 females. An arrangement of this play 
for schools and colleges. 

Much Ado About Nothin —Comedy in Five Acts. By W. 
Shakespeare. 17 males, 4 females. Arranged by Mr. Winthrop Ames. 

Our Boys* —Comedy in Three Acts. By H. J. Byron. 6 males, 4 fe¬ 
males. Arranged by Frank E. Fowle. 

Richelieu* —Play in Five Acts. By Sir E. B. Lytton. 15 males, 2 fe¬ 
males. This version follows closely the version of Mr. Edwin Booth. 

The Rivals* —Comedy in Five Acts. By R. B. Sheridan. 9 males, 5 
females. Printed from the prompt-copy used at the Boston Museum. 

The School for Scandal* —Comedy in Five Acts. By R. B. Sher¬ 
idan. 12 males, 4 females. The Boston Museum version. 

A Scrap of Paper* —Comedy in Three Acts. From the French of 
Sardou by J. Palgrave Simpson. 6 males, 6 females. The Boston 
Museum version of this delightful piece. 

She Stoops to Conquer* —Comedy in Five Acts. By O. Goldsmith. 

15 males, 4 females. Printed from the Boston Museum prompt-book. 

The Silver Spoon* —Comedy in Four Acts. By J. S. Jones. 10 males, 

9 females. A revised version of this old “ hit ” of the period before the war. 

Twelfth Night OR, What You Wili —Comedy in Five Acts. By 
Wm. Shakespeare. 10 males, 3 females. A new acting version of this 
comedy, based on the prompt-book of Miss Julia Marlowe. 

Costumes of the period in all cases. Scenery usually rather elaborate. 

BAKER, Hamilton Place, Boston, Mass* 


RAND AVERY SUPPLY CO., BOSTON 


181487 











